


Try To Forget Me

by CalamityCain



Category: Beauty and the Beast (2017)
Genre: Anal Sex, Blow Jobs, Glam Rock, Implied/Referenced Abuse, M/M, Sex Drugs and Rock and Roll
Language: English
Status: Completed
Published: 2017-06-12
Updated: 2017-06-12
Packaged: 2018-11-13 06:30:00
Rating: Mature
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 2,705
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/11179005
Author URL: https://archiveofourown.org/users/CalamityCain/pseuds/CalamityCain
Summary: A village boy is invited into the castle after catching the eye of its mercurial, dangerously decadent ruler.A brief, searing encounter lost to the enchantment of memory and time.(with undertones of Velvet Goldmine and generous lashings of glam rock)





	Try To Forget Me

**Author's Note:**

> in my original idea of how the story unfolds, Gaston's identity is supposed to be revealed at the end, hence remaining unnamed for the entirety of the script. But of course this being a fanfiction site, the ships are disclosed out of necessity :)

_

 

INT. THE CASTLE (BALLROOM) – NIGHT

 

MUSIC:

‘20th Century Boy’ (T.Rex)

 

Open on a lacy handkerchief flicking out, and a waft of perfume hits a breast spilling out of a low-cut gown. Painted lips form a delighted, scandalised ‘O’.

 

Cut to a courtly choreography of a minuet on the dance floor. These scenes are juxtaposed with what looks like the prelude to an orgy: louche beautiful people engaged in various intimate acts, in various stages of undress, on chaise sofas and thick luxurious carpets.

 

A pair of clasped dancers’ hands part to reveal another scene of rouged lips leaving a stain on a silk collar. A tongue flicks out to lick at the neck above the collar. Drunken laughter fills the air.

 

Cut to MADAME GARDEROBE, a statuesque and ostentatiously-dressed diva, singing while wiggling her bosom suggestively.

 

MADAME GARDEROBE:

(singing)

“Friends say it's fine, friends say it's good;  
Everybody says it's just like rock 'n' roll…”

 

Around her the dancers continue swirling about as the rhythm and mood picks up.

 

Cut to a lithe ANDROGYNOUS YOUTH, wearing what appears to be body glitter and little else, twisting his body around a pole.

 

Scene moves to an OLDER LADY who waves a diamond necklace at him.

 

MADAME GARDEROBE:

(singing while winking slyly at the scene)

“I move like a cat, charge like a ram, sting like a bee  
Babe, you wanna be my man?”

 

The  bends over with the skill of a contortionist to catch the string of diamonds in his teeth. There are raucous cheers as he drops from the pole to crawl toward her, and she lifts her voluminous skirts.

 

MADAME GARDEROBE:

(with her backup singers)

“Well it’s plain to see

You were meant for me

Well, you’re my toy

My twentieth-century boy”

 

A dashing dandy of a figure appears, dressed in dark blue velvet and gold. His powdered wig sports loose tumbling curls held back with a black ribbon, a rebellion against the tightly curled and coiffed fashions of the day.

 

We see only his back as he struts among the crowd of partygoers, who pause in their dance or step aside respectfully wherever he walks.

 

He comes bearing blood-red roses that he passes to those who catch his eye favourably. The roses are evidently badges of honour – a young woman clasps it to her chest with a gratified look; a man pins it carefully to his coat and puffs out his chest.

 

MUSIC:

(fades into a hush) segues into a violin version ‘20th Century Boy’

 

Cut to the dandy proffering one of these blossoms to a lovely young UNNAMED GIRL. The view pans upward to reveal his face – it is Prince ADAM, glitter and paint in blue and gold framing his kohl-lined eyes. The look is severe yet appealingly dramatic.

 

He sensually runs the soft petals down the UNNAMED GIRL’s lips, her neck, stopping just short of the swell of her breast.

 

Enamoured and ecstatic, she leans to kiss him – only to be coldly rebuffed as he withdraws the flower and turns away, flirtatious one second, unfeeling the next.

 

The scene goes from her look of stunned dismay to the trail of rose petals he leaves behind, vivid red against the pale marble.

 

 

 

CUT TO

INT. A CORRIDOR

 

(Music and sounds of the party fades away)

 

A gentleman walks down the corridor leading to the master bedchamber, bearing a tray with two glasses of champagne. As he turns a corner, we see from his side profile that it is COGSWORTH.

 

He reaches his destination and knocks on the door.

 

 

 

CUT TO

INT. THE CASTLE (BEDCHAMBER)

 

MUSIC:

Delicate sounds of a harpsichord

 

Open on a black velvet ribbon being loosened from its bow, the diamond pin removed. The scene lingers briefly on the curled white locks tumbling free. They belong, of course, to Prince ADAM – the dandy with the roses.

 

Cut to the discarded wig thrown across a plush carpet shot with intricate fleur-de-lis embroidery.

 

MUSIC:

(fade in) underlying bass guitar strumming a low constant note

 

Cut to a gilt-edged ivory fan filling the screen. Then it snaps back to reveal teenage Prince ADAM with his back to us.

 

MUSIC:

‘Baby’s On Fire’ (The Venus In Furs)

 

ADAM is surrounded by a bevy of richly garbed COURTIERS, most of them a few years older than him, some significantly older. They appear to be doing a courtly dance while simultaneously undressing him.

 

Close-up on ADAM’s face to highlight the dramatic, sensual effect of his theatrical makeup. His dark gold hair, freed from the wig earlier, tumbles around his shoulders and frames his haughty, beautiful face.

 

(MONTAGE – tight shots)

A beautifully embroidered midnight-blue coat is pulled off. A waistcoat is unbuttoned. A gossamer silk stocking is peeled off a shapely calf.

 

Cut to a top view of the scene where the COURTIERS around him form a grand moving kaleidoscope of gold and feathers and powdered, elaborate wigs.

 

Back to the previous view; cut to a flash of bare shoulder. Cut to a hand pulling shirt from shoulder, another ardently caressing a bared chest and its pert pink nipple.

 

The COURTIERS pull back, and we see that ADAM is naked save for two strategically placed plume feathers that he has just plucked from someone’s bejewelled turban.

 

He faces the viewer and strikes a seductive pose; we see this scene through the eyes of the person approaching him.

 

(MUSIC fades into the background, then into silence)

 

ADAM:

“I’ve been expecting you.”

 

The scene switches to this person – someone who would be typically described as a ‘strapping young man’.

 

The YOUNG MAN, his dark hair pulled back in a simple ponytail, is tanned and well-muscled in contrast to the prince’s slender figure; somewhat rough around the edges and out of his comfort zone within the gaggle of leering aristocrats. He looks slightly awkward even while attempting to maintain a cocky exterior.

 

ADAM extends his hand in a playfully foppish gesture.

 

ADAM:

“Well? What are you waiting for?”

 

The YOUNG MAN obeys, becoming more and more conscious of the prince’s nakedness next to his own fully clothed state. He slowly lowers himself until he is sitting next to ADAM. His plain garments contrast with the feathered, glittered decadence.

 

Cut to the COURTIERS giggling and ribbing each other while gazing at this village boy, whom they regard as a novelty. The ladies whisper from behind their fans and make eyes at him.

 

He reddens slightly and looks elsewhere.

 

ADAM rises to shoo them away. We see the two large plume feathers (out of focus) fluttering away as he stands. The scene focuses on the YOUNG MAN; his eyes widen a little when he sees the prince’s unshielded sex.

 

The COURTIERS leave the room. The curtains of the huge four-poster bed unfurl and descend to shut out the rest of the world. The prince and his new companion are alone now.

 

ADAM:

(coquettish)

“Have you never been with a man before?”

 

YOUNG MAN:

“Does it matter?” (He sticks out his chin, subtly puffs his chest, a display of nonchalance and machismo.) “I’ve been with perhaps a dozen maids…and you are as pretty as one.”

 

ADAM:

(leaning close so his lips brush the other’s neck)

“After this, you will never compare me to a common village maid again.”

 

The YOUNG MAN visibly swallows as ADAM helps him out of his clothes. From the way his body tenses it is evident he can’t hold back his desire much longer. And he doesn’t need to; as soon as his trousers are off, ADAM goes down on him.

 

MUSIC:

‘Baby’s On Fire’ (fade back in)

 

We know the exact moment he is taken in by the way he inhales sharply and the look of shock, then ecstasy, on his face.

 

The scene goes to a top shot of the YOUNG MAN’s upper body as he lies back, one hand gripping the sheets, his eyes closed and his hips arching in a steady rhythm.

 

Cut to a tight shot of ADAM’s hand on his thigh.

 

Cut to the YOUNG MAN’s hand clutching at ADAM’s hair, gripping it tightly as he moans.

 

ADAM raises his head with the latter’s hand still tangled in his hair. His eyes are bright with lust as he licks his lips, rouge smearing a corner of his mouth.

 

ADAM:

“Are you ready for me now? My little peasant boy…”

 

YOUNG MAN:

“I am no peasant. Nor am I little.”

 

ADAM:

(grinning wickedly)

“I can see that.”

 

Cut to a dainty vial of oil uncapped by ADAM’s manicured fingers.

 

Cut to a few drops spilling onto ADAM’s belly and the YOUNG MAN’s broader, calloused fingers wiping them away, leaving a gleaming streak on the smooth skin.

 

(MUSIC fades away gradually)

 

ADAM lies back on the cream-coloured pillows, hair spreading out like a halo.

 

ADAM:

“You know what to do.”

 

He hands his companion the small vial.

 

Cut to his milk-white arms stretching, seemingly in an act of surrender, so his fingers brush the gilded bed posts.

 

His thigh slides up, and the YOUNG MAN’s hand slides between his legs.

 

ADAM makes a sound that seems like one of pain, and also of surprise and pleasure.

 

ADAM:

“Mmm…you’re rough.”

 

YOUNG MAN:

(in a whisper)

“You…like it that way, don’t you?”

 

ADAM:

“Ohh, yes. The arrogant village brute, the young hunter so full of himself. From the moment you refused to bow before me, I’ve wanted you like I’ve not wanted anyone – or anything – in a long time.”

 

His back arches a little at the memory, and at the anticipation of what is to come. The YOUNG MAN takes hold of his slender wrists, hesitantly at first, then suddenly and impulsively pins him down.

 

ADAM:

(biting back a moan)

“God, yes. Show me who you are. Who you really are.”

 

 

CUT TO

INT. CORRIDOR OUTSIDE THE BEDCHAMBER

 

A CLEANING-MAID sweeps bits of the party’s debris – and a discarded pair of bloomers – from the carpet as a string of increasingly loud moans are heard from inside the bedroom. She does not bat an eyelash at the noise.

 

Just a few feet away, a NAMELESS COUPLE ardently make out in the dim lamplight as if she is not there. By the time the maid passes them by, they are making love against the wall.

 

 

CUT BACK TO

INT. THE BEDCHAMBER

 

A flush-faced ADAM kneels facing the bedposts, gripping them tightly while his mouth falls open. His lover is taking him from behind, all hesitance replaced with an uncontrolled vigour.

 

The YOUNG MAN presses a hand into the small of his back while another hand pushes his legs further apart.

 

YOUNG MAN:

“Open up for me…let me in. All of me.”

 

ADAM:

(moaning and gasping)

“Y-yes…yes – ”

 

YOUNG MAN:

“Do your people know…what a slut you are with commoners…with peasants?” (he utters the last word mockingly)

 

ADAM:

“N…not with just anyone. They…they’re, well, common. N-not you. Mmm…definitely not you.”

 

With a loud groan the YOUNG MAN thrusts in, buried to the hilt, his hand gripping ADAM’s hips hard enough to bruise.

 

ADAM:

(gasping)

“You’re huge.”

 

YOUNG MAN:

“So I’ve been told.”

 

ADAM drops to his elbows, his backside how in the air to allow the other to thrust deeper with each movement. He starts to stroke himself urgently. Seconds later he comes with a cry and a shudder.

 

The YOUNG MAN continues rutting into him even as he goes limp like a rag doll before finally climaxing. He withdraws, panting hoarsely, and collapses into bed beside ADAM.

 

Cut to a top view of them lying boneless in the rumpled sheets and, for the moment, quite contented.

 

The YOUNG MAN’s state of sleepy satisfaction is broken only when ADAM’s lips brush teasingly against his. Immediately he draws back, rising from the bed.

 

ADAM:

(smiling coyly)

“You fuck like a stallion, yet a small kiss scares you away?”

 

The YOUNG MAN opens his mouth hesitantly, makes a fumbling gesture, both apologetic and defiant.

 

ADAM attempts again to claim his lips, grabbing the broad shoulders with a mocking laugh. The laughter is cut abruptly short when the YOUNG MAN pushes him away with some force.

 

ADAM’s demeanour changes, hurt and then anger flashing across his fine features.

 

ADAM:

(hissing)

“How dare you!”

 

He slaps the YOUNG MAN in the face. Once, then twice, harder the second time.

 

The YOUNG MAN deflects the third blow and strikes back, hitting the prince squarely across the face and sending him reeling.

 

Immediately he regrets this action. Despite knowing they are alone, he hastily looks around, likely thinking he’ll lose his head for striking the heir to the throne.

 

He slowly approaches ADAM, who is laughing  softly, a strange and perverse sound.

 

ADAM:

“So this is what it feels like…”

 

YOUNG MAN:

“I – I didn’t mean to…”

 

ADAM looks up at him, eyes glittering with what might be tears, or just a trick of the light.

 

ADAM:

“Is this what you want? To use and abuse someone? It feels good, does it not?”

 

He reaches out viper-like to grab the YOUNG MAN’s hand and press it against his chest, running it up his neck.

 

ADAM:

(lustily)

“Do it. Bend me to your will, you brute. Use me like one of your silly little milkmaids.”

 

The YOUNG MAN tries to pull away his hand, albeit quite half-heartedly. He looks repelled yet transfixed.

 

ADAM slides two of the YOUNG MAN’s fingers into his mouth and begins sucking at them. The latter finds himself aroused all over again.

 

YOUNG MAN:

(groaning softly)

“Damn you.”

 

ADAM:

“Oh, but I AM damned. Damned to kneel before a rough-handed pheasant hunter boy.”

 

Cut to ADAM’s knees sinking into the soft carpet. Cut to his upturned face, eyes burning as he stares at the other, makeup faded to smears of blue and gold.

 

ADAM:

“Have you ever had a prince kneel before you?”

 

Cut to a tight shot of his fingers sinking into the YOUNG MAN’s thighs. The scene goes dark.

 

 

 

CUT TO

INT. ANTECHAMBER, LEADING TO A LUXURIOUS DRAWING ROOM

 

MUSIC:

‘Lady Grinning Soul’ (David Bowie)

 

The dancing and imbibing and giving of free love has ended some time ago. Now the remaining revellers too drunk to leave are draped on sofas and chairs and cushions littered on the floor in various states of dishabille. For the most part, they look sated, having had their cups filled to overflowing with sensual pleasures of all kinds.

 

The two youths that minutes ago had lain sprawled in the master bedchamber walk languidly through this quiet scene. The YOUNG MAN is fully dressed once more, albeit a bit rumpled looking, while the latter wears a long loose nightshirt and nothing else.

 

ADAM turns to face his lover.

 

ADAM:

“Come back soon. My doors will be open for you, if no one else.”

 

YOUNG MAN:

 “Hmmph. I wonder how many others before me have heard those words.”

 

ADAM:

“None; you can be assured. I discard them like toys after I am done.”

 

The YOUNG MAN makes a sound like a half-laugh.

 

YOUNG MAN:

“You are almost as beautiful as you are cruel. Or is it the other way around?”

 

ADAM:

“Is it always a bad thing? We remember the most the ones who are cruel to us.”

 

His face darkens slightly as if at old memories. Then the darkness lifts and he suddenly takes hold of the YOUNG MAN’s face and presses the latter’s lips against his, stealing his kiss at last.

 

When he draws back, a rose is stuck into the collar of the YOUNG MAN’s shirt.

 

ADAM:

“Something to remember me by.”

 

YOUNG MAN:

(shaking his head)

“I could not forget you if I tried. The next beauty to catch my eye will have to be…extraordinary.”

 

Cut to them now at the doors of the castle, ready to say their farewells. The YOUNG MAN retrieves his coat, held out by a poker-faced COGSWORTH.

 

Just before he leaves, some of his cocky demeanour returns. He smiles and gives a small two-fingered salute.

 

YOUNG MAN:

 “If I don’t manage to return, try to forget me.”

 

ADAM:

“As if! (smiles in return) You’ll be the death of me yet, Monsieur Gaston.”

  

 

\- END -

 

_

**Author's Note:**

> This was written in the format of a screenplay because the story unfolded in a series of very vivid scenes that I wanted to capture. Even though I write film scripts for a living a lot (commercials mostly), I never do them as 'screenplays' but more as normal story prose, and allow the directors I work with to turn them into movie-script format. This is of of the rare instances I get to play director. Please excuse any flaws (I learnt screenplay-writing entirely from the internet); I hope my experimenting did not get in the way of things. Do comment and feedback! Thanks.


End file.
